DOCSLIB.ORG

A Study Guide by Jennifer Connolly

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Study Guide by Jennifer Connolly FILM AUSTRALIA COLLECTION WRONG SIDE OF THE ROAD New Digitally Restored & Remastered Film © ATOM 2014 A STUDY GUIDE BY JENNIFER CONNOLLY http://www.metromagazine.com.au ISBN 978-1-74295-408-0 http://www.theeducationshop.com.au NED LANDER GRAEME ISAAC Background Aboriginal Media Association (CAAMA), in Alice Springs, helped develop Aboriginal film making At the time of its original release in 1981, Wrong and launch it in to the mainstream. He also pro- Side of the Road was hailed as the first narrative Photos by Carol Ruff duced the noted Arnhem Land documentaries © Ned Lander and feature to centre on the experience of a contempo- Dhakyarr Vs The King and In My Father’s Country, Graeme Isaac, 2013 rary Aboriginal group, instead of using them as bit as well as the Indigenous feature musical Bran Nue players in the main action. The film was written in Dae directed by Rachel Perkins. collaboration with the cast, which included mem- bers of the bands, Us Mob and No Fixed Address.1 After the release of the film, No Fixed Address Real events in the lives of the band members were continued to play and tour with various Australian dramatised and interspersed with live footage of mainstream bands including Split Endz, Mental the bands performing. As Anything, Mondo Rock, and Cold Chisel and supported international touring acts such as Peter The music of Wrong Side of the Road, with songs Tosh and Ian Dury. In the mid 80’s they also toured like We Have Survived, asserts that despite every- to the UK and toured through Eastern Europe thing, contemporary Aboriginal culture is alive and before the fall of the iron curtain. In August 2011 kicking – in the country and in the city! The music No Fixed Address, along with the band Coloured of Us Mob and No Fixed Address drew on rock and Stone, were inducted into the Hall of Fame at the reggae to reflect a contemporary Aboriginal ‘resist- inaugural National Indigenous Music Awards. Us ance culture’. These were 2 of the first Indigenous Mob was the subject of an ABC Message Stick bands in Australia to be writing songs in a con- documentary in February 2000. temporary style, about their own experience and reaching out to both black and white audiences. This iconic 1980s film has been remastered and restored to the filmmaker’s original vision by the Since directing the AFI winning Wrong Side of the National Sound and Film Archive.2 Road Ned Lander has gone on to work as a writer, RONNIE ANSELL (CENTRE) producer and broadcast executive for SBS OF US MOB REMEMBERS Independent. He produced Rachel Perkin’s HIS DROVING DAYS first feature Radiance, and at SBS com- missioned the documentary series First Australians. He recently completed the te- lemovie Dangerous Remedy starring Jeremy Sims, Susie Porter and William McInnes and is currently executive producer of Jeremy Sim’s feature Last Cab to Darwin starring 2014 © ATOM SCREEN EDUCATION Michael Caton, Ningali Lawford and Jackie Weaver. Co-producer and Co-writer Graeme Isaac was the supervising producer of the first short drama series by Indigenous directors, From Sand To Celluloid and Shifting Sands, which along with the Central Australian 2 Synopsis Wrong Side of the Road follows two days in the lives of Aboriginal bands Us Mob and No Fixed Address as they trek from Port Adelaide to Point Pearce in South Australia, but it is more than a traditional road movie. The members of the bands play themselves, acting out incidents from their lives and those NED LANDER DIRECTS GAYLE of their friends. The loose narrative is RANKINE. LEILA RANKINE SITTING linked together with rocking songs and biting lyrics. The film is punctuated by run-ins between the musicians and white authority, and subplots centred on each member of the band. Vonnie’s Curriculum and boyfriend is in jail, Pedro is considering Educational Suitability quitting the band and Bart’s dreams take him to his upbringing in a Wrong Side of the Road will have relevance to juvenile institution. In one of the film’s students of English, Media, History and Drama. central narrative threads Les, who The study of the film also has potential links was adopted out to a white family to the National Curriculum General Capability at a young age, is searching for his of Intercultural Understanding and the Cross Aboriginal family, at a time when the Curriculum Priority; Aboriginal and Torres Strait ‘stolen generation’ history was not Islander histories and cultures. The film provides known by the broader Australian opportunities for students to engage in discussions community. about the Stolen Generation, racism in Australian society and the representation of Indigenous The film does not dwell on injustice. Australians, in various time periods and contexts, It shows a gutsy people standing in Australian film. It is most suitable for Senior up to a racist society, and explores Secondary (Years 10 – 12) and students studying at the uniqueness and resilience of a tertiary level. the Aboriginal community. This uncompromising film and its Students and teachers need to be aware that the film contains course language and drug use. empowering music are as relevant 3 today as they were 33 years ago. References to ‘text’ in this guide refer to film and multimodal texts as well as the written word. Summary of links to the National Curriculum The table on the following page provides a sum- mary of links to the National Curriculum and the draft of the National Curriculum for Media and Drama. Reference: 2014 © ATOM SCREEN EDUCATION http://www.australiancurriculum.edu.au4 http://www.acara.edu.au/verve/_resources/DRAFT_ Australian_Curriculum_The_Arts_Foundation_ to_Year_10_July_2012.pdf5 http://www.australiancurriculum.edu.au/ SeniorSecondary/English/English/Overview-of- the-senior-secondary-Australian-Curriculum6 CARROLL KARPANY, US MOB 3 LEARNING YEAR 10 YEARS 11-12 AREA ENGLISH YEAR 10 YEAR 11 Language Unit 1 Understand how language use can have Investigate the relationships between language, context and meaning by: inclusive and exclusive social effects, • explaining how texts are created in and for different contexts (ACEEN001) and can empower or disempower • Analysing how language choices are made for different purposes people (ACELA1564) and in different contexts using appropriate metalanguage; for Understand that people’s evaluations example, personification, voice-over, flashback, salience (ACEEN002) of texts are influenced by their • Evaluating the choice of mode and medium in shaping the response value systems, the context and of audiences, including digital texts. (ACEEN003) the purpose and mode of Unit 2 communication(ACELA1565) • Analyse and evaluate how and why responses to texts vary through: Literature • analysing changing responses to texts over time and in different cultural Compare and evaluate a range of contexts. representations of individuals and Create a range of texts: groups in different historical, social and cultural contexts (ACELT1639) • using imaginative, interpretive and persuasive elements for different purposes, contexts and audiences Analyse and explain how text structures, language features and visual features YEAR 12 of texts and the context in which texts Unit 3 are experienced my influence audience response (ACELT1641) Compare texts from similar or different genres and contexts by: Evaluate the social, moral and • analysing and evaluating how similar themes, ideas or concepts are treated in ethical positions represented in different texts. texts (ACELT1812) Reflect on their own and others’ texts by: Analyse and evaluate how people, • analysing and evaluating how different texts represent similar ideas in different cultures, places, events, objects ways and concepts are represented in texts, including media texts, through language, structural and/or visual choices (ACELY1749) LEARNING YEAR 10 YEARS 11-12 AREA DRAMA YEAR 10 Various links to studies across different national Making senior Drama curricula 10.1 Develop internally consistent, motivated roles and characters conveying a subtext of social and psychological situations, relationships and status 10.6 Integrate other art forms and learning areas to develop ideas and issues to explore symbol, subtext and performance styles HISTORY YEAR 10 MODERN HISTORY Depth Study: Rights and Freedoms YEAR 11 Background to the struggle of Aboriginal and Torres Strait Islander peoples for rights and Unit 2: Depth study freedoms before 1965, including the 1938 Day of Mourning and the Stolen Generations area: Recognition and (ACDSEH104) rights of indigenous peoples The significance of the following for the civil rights of Aboriginal and Torres Strait Islander peoples: 1962 right to vote federally; 1967 Referendum; Reconciliation; Mabo decision; Bringing Them Home Report (the Stolen Generations), the Apology (ACDSEH106) Methods used by civil rights activists to achieve change for Aboriginal and Torres Strait Islander peoples, and the role of ONE individual or group in the struggle SCREEN EDUCATION © ATOM 2014 © ATOM SCREEN EDUCATION MEDIA YEAR 10 YEARS MAKING 11 & 12 10.3 Manipulate representations to invite alternate social, cultural and environmental viewpoints Various links to studies and audience interpretations across different national senior Media curricula RESPONDING 10.7 Evaluate the effectiveness of codes and conventions within a media arts work to engage audiences and communicate ideas and concepts 4 -1900s, 1920s, 1950s, 1980s and now. After this activity ask students to write a short summary that explains why their position did or did not differ for each era. Students could also reflect on how their own experience influenced their response. *It will be important for teachers to approach this task with sensitivity, taking into account individual backgrounds and experiences. The task could be a class discussion or a personal written reflection. VERONICA RANKINE 3. The 1970s and 1980s in Australia What was Australian society like at the time this film was set? Write a list of 10 questions and inter- view at least 2 different people about society in the 1970s/80s.
Load more

Recommended publications
  • Article by Maria Joseph ONE NIGHT the MOON Directed by Rachel
    Area of Study 2 Article on One Night The Moon by Maria Joseph Context: The Imaginative Landscape Article by Maria Joseph ONE NIGHT THE MOON Directed by Rachel Perkins One Night the Moon is directed by Rachel Perkins and was released in 2001. Perkins is an Indigenous Australian, an Arrernte woman from the Central Desert region near Alice Springs. She grew up in Canberra, the daughter of renowned Aboriginal activist Charles Perkins, who died whilst the film was in production. One Night the Moon is dedicated to his memory. Like her father, Perkins is concerned with the social and political rights of Aboriginals in contemporary Australia. Her films Radiance (1998) and Bran Nue Dae (2010) centre on Aboriginal issues, and her television series The First Australians (2008) gives an Aboriginal viewpoint of Australian history. Paul Kelly is a principal actor and musician in One Night the Moon, playing the father, Jim. As a musician he is known for his insightful lyrics that comment on modern Australian life. At the time of making One Night the Moon, Kelly was married to Kaarin Fairfax, who plays Rose. Their actual daughter, Memphis, plays Emily. The Imaginative Landscape in One Night the Moon At one level ‘The Imaginative Landscape’ can be simply interpreted as having to do with representations of the land. Writers and directors create the settings of their narratives in order to convey meaning. We all know that a thunderstorm or wild wind suggests something dramatic or tragic is likely to happen in the story. A narrative with a negative outcome or a critical message may be set in a landscape that conveys pessimism, such as a grungy cityscape.
    [Show full text]
  • David Stratton's Stories of Australian Cinema
    David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor
    [Show full text]
  • Reconciliationnews Issue No 28 // December 2013
    ReconciliationNews ISSUE NO 28 // December 2013 Michael Hohnen and Mark Grose and their passion for Indigenous music Rachel Perkins discusses her love of filmmaking Alison Page, bringing people together through the Freshwater Saltwater Arts Alliance 2 ISSUE NO 28 // December 2013 CONTENTS 3 Black Diggers – CEO message the untold story 4 Rachel Perkins: in the frame How quickly this year has flown! All of a sudden we’re talking about Christmas, thinking about a welcome break 7 A tale of two talents by a beach somewhere and looking forward to all that fun 8 Coming home to and food with family and friends. Noongar country 10 Making music with Skinnyfish For most of us, taking a break will probably include music, movies and books, perhaps even a visit to a gallery or a festival. The arts enrich our lives every day and in much the same way 12 Riding the black cockatoo as sport encourages respect and admiration for athletic talent, the arts can provide a real appreciation and understanding of culture. 16 Saltwater Freshwater: bringing people together We’ve devoted this edition of Reconciliation News to the arts and I hope you’ll enjoy the various stories that together illustrate that reconciliation comes in many forms. 19 Bangarra turns 25! The thoughtful voice of film director Rachel Perkins whose work includes First Australians, Mabo and Redfern Now comes through clearly as she reveals her passion for filmmaking. Her quietly 19 Aboriginal artists shine powerful films have helped demystify our hidden history and have fostered better understanding between Aboriginal and Torres Strait Islander people and other Australians.
    [Show full text]
  • 'Noble Savages' on the Television
    ‘Nobles and savages’ on the television Frances Peters-Little The sweet voice of nature is no longer an infallible guide for us, nor is the independence we have received from her a desirable state. Peace and innocence escaped us forever, even before we tasted their delights. Beyond the range of thought and feeling of the brutish men of the earli- est times, and no longer within the grasp of the ‘enlightened’ men of later periods, the happy life of the Golden Age could never really have existed for the human race. When men could have enjoyed it they were unaware of it and when they have understood it they had already lost it. JJ Rousseau 17621 Although Rousseau laments the loss of peace and innocence; little did he realise his desire for the noble savage would endure beyond his time and into the next millennium. How- ever, all is not lost for the modern person who shares his bellow, for a new noble and savage Aborigine resonates across the electronic waves on millions of television sets throughout the globe.2 Introduction Despite the numbers of Aboriginal people drawn into the Australian film and television industries in recent years, cinema and television continue to portray and communicate images that reflect Rousseau’s desires for the noble savage. Such desires persist not only in images screened in the cinema and on television, but also in the way that they are dis- cussed. The task of ridding non-fiction film and television making of the desire for the noble and the savage is an essential one that must be consciously dealt with by both non- Aboriginal and Aboriginal film and television makers and their critics.
    [Show full text]
  • JASPER JONES a Film by Rachel Perkins
    Presents JASPER JONES A film by Rachel Perkins “A marvelously entertaining and ultimately uplifting tale” – Richard Kuipers, Variety Austrailia / 2017 / Drama / English / 103 mins Film Movement Contact: Press: [email protected] Theatrical: Clemence Taillandier | (212) 941-7744 x301 | [email protected] Festivals & Non-Theatrical: Maxwell Wolkin | (212) 941-7744 x211 | [email protected] www.FilmMovement.com 1 SYNOPSIS Adapted from Craig Silvey’s best-selling Australian novel and featuring a stellar cast including Toni Collette, Hugo Weaving, Levi Miller, Angourie Rice, Dan Wyllie and Aaron McGrath, JASPER JONES is the story of Charlie Bucktin, a bookish boy of 14 living in a small town in Western Australia. In the dead of night during the scorching summer of 1969, Charlie is startled when he is woken by local mixed-race outcast Jasper Jones outside his window. Jasper leads him deep into the forest and shows him something that will change his life forever, setting them both on a dangerous journey to solve a mystery that will consume the entire community. In an isolated town where secrecy, gossip and tragedy overwhelm the landscape, Charlie faces family breakdown, finds his first love, and discovers what it means to be truly courageous. SHORT SYNOPSIS Based on the best-selling novel, JASPER JONES is the story of Charlie Bucktin, a young bookish boy living in a small town. One night, local mixed-race outcast Jasper Jones appears at Charlie’s window and the pair embark on a journey to solve a mystery that will consume the entire community. LOGLINE Two boys journey to solve a mystery that will consume the entire community.
    [Show full text]
  • Mckee, Alan (1996) Making Race Mean : the Limits of Interpretation in the Case of Australian Aboriginality in Films and Television Programs
    McKee, Alan (1996) Making race mean : the limits of interpretation in the case of Australian Aboriginality in films and television programs. PhD thesis. http://theses.gla.ac.uk/4783/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Making Race Mean The limits of interpretation in the case of Australian Aboriginality in films and television programs by Alan McKee (M.A.Hons.) Dissertation presented to the Faculty of Arts of the University of Glasgow in fulfilment of the requirements for the Degree of Doctor of Philosophy University of Glasgow March 1996 Page 2 Abstract Academic work on Aboriginality in popular media has, understandably, been largely written in defensive registers. Aware of horrendous histories of Aboriginal murder, dispossession and pitying understanding at the hands of settlers, writers are worried about the effects of raced representation; and are always concerned to identify those texts which might be labelled racist. In order to make such a search meaningful, though, it is necessary to take as axiomatic certain propositions about the functioning of films: that they 'mean' in particular and stable ways, for example; and that sophisticated reading strategies can fully account for the possible ways a film interacts with audiences.
    [Show full text]
  • NYUNTU NGALI (You We Two) by Scott Rankin
    Education Resources Pre‐Production STC Ed presents a Windmill and Big hART production NYUNTU NGALI (You We Two) by Scott Rankin PRE‐PRODUCTION RESOURCES About Sydney Theatre Company 2 About STCEd 2 Creative Team and Cast 2 About Windmill 3 About Big hART 3 Synopsis 4 Themes 4 Historical and social background of the play 5 Interview with the playwright 6 – 7 PRE‐PRODUCTION EXERCISES Storytelling 8 – 9 We are going 10 Photo: Tony Lewis Pijantjatjara 11 – 12 Education Resource compiled by Education manager Naomi Edwards, Education Coordinator Toni Murphy, Editor Lucy Goleby, Contributors Georgia Close, Kerreen Ely Harper and DiAnne McDonald KEY AIM of exercise or section + Extension Exercises Download and watch Drama Exercises English Exercises Play online NYUNTU NGALI Sydney Theatre Company Education Resources 2010 © Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. PRE‐PRODUCTION RESOURCES ABOUT SYDNEY THEATRE COMPANY www.sydneytheatre.com.au/about “PETROL: You can’t live without him. ABOUT STCED EVA: Can’t live without him. www.sydneytheatre.com.au/stced/about ROAM: We don’t care if you kill us, do we little one. Nyuntu Ngali Scene Five – Who are you? ” CREATIVE TEAM Writer and Director – Scott Rankin Musical Director and Community Producer – Beth Sometimes Lighting Designer – Nigel Levings Choreographer – Gina Rings Objects Designer – Elliat Rich AV
    [Show full text]
  • A Study Guide by Jennifer Connolly
    FILM AUSTRALIA COLLECTION WRONG SIDE OF THE ROAD New Digitally Restored & Remastered Film © ATOM 2014 A STUDY GUIDE BY JENNIFER CONNOLLY http://www.metromagazine.com.au ISBN 978-1-74295-408-0 http://www.theeducationshop.com.au NED LANDER GRAEME ISAAC Background Aboriginal Media Association (CAAMA), in Alice Springs, helped develop Aboriginal film making At the time of its original release in 1981, Wrong and launch it in to the mainstream. He also pro- Side of the Road was hailed as the first narrative Photos by Carol Ruff duced the noted Arnhem Land documentaries © Ned Lander and feature to centre on the experience of a contempo- Dhakyarr Vs The King and In My Father’s Country, Graeme Isaac, 2013 rary Aboriginal group, instead of using them as bit as well as the Indigenous feature musical Bran Nue players in the main action. The film was written in Dae directed by Rachel Perkins. collaboration with the cast, which included mem- bers of the bands, Us Mob and No Fixed Address.1 After the release of the film, No Fixed Address Real events in the lives of the band members were continued to play and tour with various Australian dramatised and interspersed with live footage of mainstream bands including Split Endz, Mental the bands performing. As Anything, Mondo Rock, and Cold Chisel and supported international touring acts such as Peter The music of Wrong Side of the Road, with songs Tosh and Ian Dury. In the mid 80’s they also toured like We Have Survived, asserts that despite every- to the UK and toured through Eastern Europe thing, contemporary Aboriginal culture is alive and before the fall of the iron curtain.
    [Show full text]
  • The Arts- Media Arts
    Resource Guide The Arts- Media Arts The information and resources contained in this guide provide a platform for teachers and educators to consider how to effectively embed important ideas around reconciliation, and Aboriginal and Torres Strait Islander histories, cultures and contributions, within the specific subject/learning area of The Arts- Media Arts. Please note that this guide is neither prescriptive nor exhaustive, and that users are encouraged to consult with their local Aboriginal and Torres Strait Islander community, and critically evaluate resources, in engaging with the material contained in the guide. Page 2: Background and Introduction to Aboriginal and Torres Strait Islander Media Arts Page 4: Timeline of Key Dates in the Contemporary History of Aboriginal and Torres Strait Islander Media Arts Page 8: Aboriginal and Torres Strait Islander Media Arts and Artists— Television Page 10: Aboriginal and Torres Strait Islander Media Arts and Artists— Film Page 14: Aboriginal and Torres Strait Islander Media Arts and Artists— Newspaper, Magazine and Comic Book Page 15: Aboriginal and Torres Strait Islander Media Arts and Artists— Radio Page 17: Aboriginal and Torres Strait Islander Media Arts and Artists— Apps, Interactive Animations and Video Games Page 19: Aboriginal and Torres Strait Islander Media Arts and Artists—The Internet Page 21: Celebratory Aboriginal and Torres Strait Islander Media Arts Events Page 22: Other Online Guides/Reference Materials Page 23: Reflective Questions for Media Arts Staff and Students Please be aware this guide may contain references to names and works of Aboriginal and Torres Strait Islander people that are now deceased. External links may also include names and images of those who are now deceased.
    [Show full text]
  • Rachel Perkins
    Keynote address / Rachel Perkins I thought I would talk today about a project called First Australians, which is a documentary project. We are still in the midst of it. When I talk to people about it, like taxi drivers, they ask “What do you do?” and I say I make films. They say, “What are you working on?” and I say, “I’m working on this documentary series called First Australians” and they go “Oh great, it is about the migrant community coming to Australia” and I say, “No, no! It is actually about the first Australians, Indigenous Australians. So, we are still grappling with the title and whether it is going to be too confusing for people to grasp. But the name First Australians sort of makes the point of it trying to claim the space as Australia’s first people. If anyone has any better suggestions, come up to me at the end of the session! First Australians. It is probably the most challenging project that I’ve worked on to date. It is the largest documentary series to be undertaken in Australia. It is being made by a group of Indigenous Australians under the umbrella of Blackfella Films, which is our company. It has a national perspective and it is really the history of colonisation, which is a big part of our story. It charts the period from the 1780s through to 1993. It began in 2002 when Nigel Milan, who was the then General Manager of SBS, approached me. They had shown a series on SBS called 500 Nations, which is a series on Native American people.
    [Show full text]
  • Sweet Country
    Presents SWEET COUNTRY Directed by Warwick Thornton / In cinemas 25 January 2018 Starring HAMILTON MORRIS, BRYAN BROWN and SAM NEILL PUBLICITY REQUESTS: TM Publicity / Tracey Mair / +61 2 8333 9066 / [email protected] IMAGES High res images and poster available to download via the DOWNLOAD MEDIA tab at: http://www.transmissionfilms.com.au/films/sweet-country Distributed in Australia by Transmission Films SWEET COUNTRY is produced by Bunya Productions, with major production investment and development support from Screen Australia’s Indigenous Department, in association with the South Australian Film Corporation, Create NSW, Screen Territory and the Adelaide Film Festival. International sales are being handled by Memento and the Australian release by Transmission Films. © 2017 Retroflex Lateral Pty Ltd, Screen NSW, South Australian Film Corporation, Adelaide Film Festival and Screen Australia SHORT SYNOPSIS Inspired by real events, Sweet Country is a period western set in 1929 in the outback of the Northern Territory, Australia. When Aboriginal stockman Sam (Hamilton Morris) kills white station owner Harry March (Ewen Leslie) in self- defence, Sam and his wife Lizzie (Natassia Gorey-Furber) go on the run. They are pursued across the outback, through glorious but harsh desert country. Sergeant Fletcher (Bryan Brown) leads the posse with the help of Aboriginal tracker Archie (Gibson John) and local landowners Fred Smith (Sam Neill) and Mick Kennedy (Thomas M. Wright). Fletcher is desperate to capture Sam and put him on trial for murder – but Sam is an expert bushman and he has little difficulty outlasting them. Eventually, for the health of his pregnant wife, Sam decides to give himself up.
    [Show full text]
  • © 2018 Mystery Road Media Pty Ltd, Australian Broadcasting Corporation, Create NSW, Screenwest (Australia) Ltd, Screen Australia
    © 2018 Mystery Road Media Pty Ltd, Australian Broadcasting Corporation, Create NSW, Screenwest (Australia) Ltd, Screen Australia SUNDAYS AT 8.30PM FROM JUNE 3, OR BINGE FULL SEASON ON IVIEW Hotly anticipated six-part drama Mystery Road will debut on ABC & ABC iview on Sunday, 3 June at 830pm. Because just one episode will leave audiences wanting for more, the ABC is kicking off its premiere with a special back-to-back screening of both episodes one and two, with the entire series available to binge on iview following the broadcast. Contact: Safia van der Zwan, ABC Publicist, 0283333846 & [email protected] ABOUT THE PRODUCTION Filmed in the East Kimberley region of Western Australia, Aaron Pedersen and Judy Davis star in Mystery Road – The Series a six part spin-off from Ivan Sen’s internationally acclaimed and award winning feature films Mystery Road and Goldstone. Joining Pedersen and Davis is a stellar ensemble casting including Deborah Mailman, Wayne Blair, Anthony Hayes, Ernie Dingo, John Waters, Madeleine Madden, Kris McQuade, Meyne Wyatt, Tasia Zalar and Ningali Lawford-Wolf. Directed by Rachel Perkins, produced by David Jowsey & Greer Simpkin, Mystery Road was script produced by Michaeley O’Brien, and written by Michaeley O’Brien, Steven McGregor, Kodie Bedford & Tim Lee, with Ivan Sen & the ABC’s Sally Riley as Executive Producers. Bunya Productions’ Greer Simpkin said: “It was a great honour to work with our exceptional cast and accomplished director Rachel Perkins on the Mystery Road series. Our hope is that the series will not only be an entertaining and compelling mystery, but will also say something about the Australian identity.” ABC TV Head of Scripted Sally Riley said: “The ABC is thrilled to have the immense talents of the extraordinary Judy Davis and Aaron Pedersen in this brand new series of the iconic Australian film Mystery Road.
    [Show full text]